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Un Autre Monde: Transformations, visions, incarnations, ascensions, locomotions, explorations, peregrinations . &c.

GRANDVILLE. (Delord, Taxile). Large 8vo. (272 x 212 mm). pp. (ii), (i), (i), 295, (i). Half-title in red with pseudo-privilège verso (also in red), leaf with frontispiece verso, printed title in red and printed text illustrated with 36 hors-texte wood-engraved plates all with additional colouring by hand and 146 wood-engravings in the text, final two leaves with 'Table', 'Explication' and 'Errata' verso. Original publisher's full green morocco, the front board with large central pictorial vignette reproducing the frontispiece beneath the pictorial title vignette, rear board with gilt vignette from 'Petites Misères de la Vie Humaine', banded spine with elaborate gilt tooling and titles in five compartments, marbled endpapers, green silk placemarker, t.e.g. [PROVENANCE: With the printed bookplate in red and black of 'I. C. A. Chicora' to front pastedown]. Grandville's finest book and magnum opus, an extraordinary imaginative tour de force in a variant of the publisher's de luxe full morocco binding. 'Un nouveau monde est né; que Grandville soit loué.' (Max Ernst). Grandville's most remarkable book, an expansive flight of inspirational fantasy, and a remarkable precursor. It is clear that the influence of this work extends onward in the nineteenth and well into the twentieth centuries and beyond. A remarkable work of sui generis imaginative verve, Grandville produced the illustration which was then 'illustrated' with a commissioned text. The tale of three demi-gods, 'Dr. Puff', 'Dr. Krackq', and 'Dr. Hahblle', their created worlds and travels. The work, a descendant of the works of Swift and Goya, inspired, in passing, Lewis Carroll ('La Battaille des Cartes'), Max Ernst, the Surrealists in general as well as later caricaturists such as Steadman and Scarfe. The binding for the present copy, not cited by Carteret is likely unique. As for the very few other known copies in the deluxe binding, the front board reproduces the frontispiece showing 'la Charge et la Fantaisie passant de l'ancien monde à l'autre' signed by Liebherre. The rear board normally blank or displaying the same stamp, here features another, taken from the 'Petites Misères de la Vie Humaine'. 'In this remarkable book, of the boldest possible originality, Grandville dared to reveal his dream to the public.' (Ray). The full title - which gives a good indication of the enormously broad scope of the work - reads as follows: 'Un Autre Monde: Transformations, visions, incarnations, ascensions, locomotions, explorations, pérégrinations, excursions, stations, cosmogonies, fantasmagories, rêveries, folâtreries, facéties, lubies, métamorphoses, zoomorphoses, lithomorphoses, métempsycoses, apothéoses et autre choses.' [Ray 196; SR / BF 76 / 77; Carteret III, 285; Rebeyrat 287].
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Les Métamorphoses du Jour par Grandville. Accompagnées d’un Texte . &c.

GRANDVILLE. Large 8vo. (268 x 178 mm). pp. (iv), xxviii, 283. Half-title with printer's credit verso, printed title with monochrome vignette by Grandville, 13 leaves with biographical notice, leaf with 'Oeuvres de Grandville' and 70 engraved plates by Grandville each with additional colouring by hand, final two leaves with 'Table'. Original publisher's midnight blue percaline with elaborate polychromatic decoration, front board with title 'MÉTAMORPHOSES' and credit 'Par J. J. Grandville', large gilt stamp reproducing plate XXXVI 'Ma femme est sortie, ma petite chatte . ' with additional colour, rear board with plate XXIV 'Oh! le monstre d'homme . ', spine with elaborate gilt decoration and titles, elaborate tooling in blind to boards and spine, yellow glazed endpapers, a.e.g. The posthumous first edition in book form with accompanying text of Grandville's 'Les Métamorphoses du Jour' in the original publisher's binding. Sixty-seven of these plates - three are added from other series by Grandville - originally appeared in album form in 1829 and this version, published 17 years after Grandville's death, is both the first edition in octavo and the first with to be accompanied with text. The plates were engraved on wood by Desperet (for the first, oblong folio edition, the plates were lithographs with additional colouring by hand) and then 'illustrated' with a satirical text inspired by Grandville's plate by one of a number of authors. The pantheon of 'illustrators' were: Albéric Second, Louis Lurine, Clément Caraguel, Taxile Delord, H. de Beaulieu, Louis Huart, Charles Monselet and Julien Lemer; Charles Blanc's biographical notice is accompanied by a bibliography of Grandville's illustrated books. ''Les Métamorphoses du Jour' ont été l'idée mère de toutes les créations humano-bestiales, dont on a tant abusé depuis, et resteront incontestablement comme le chef-d'oeuvre de Grandville . Nous a offrons au public une oeuvre qui entre pour la première fois dans le domaine de la librairie, une oeuvre inconnue de la génération nouvelle . '. (From the original prospectus for hte work). [Carteret III, 284 / 285; Rebeyrat 288; SR / BF 104].
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Perles et Parures: Les Joyaux Fantaisie. Minéralogie des Dames. [&:] Les Parures Fantaisie. Histoire de la Mode.

GAVARNI (Sulpice-Guillaume Chevallier). Méry, Joseph and Le Cte. Foelix. 2 vols. Large 8vo. (270 x 184 mm). pp. (ii), (i), (i), 316; (ii), (i), (i), 300. Half-titles with printer's credit verso, engraved pictorial titles with additional colour by hand, printed titles to each vol., and text illustrated 3ith 31 engraved plates by Gavarni, each with additional colour by hand and with the margins cut 'à la dentelle' and backed with pink paper, final leaf of each vol. with 'Table des Matières'. Original publisher's midnight blue percaline with elaborate polychromatic decoration, front boards with elaborate gilt decorative oval titles to surround central vignettes, matching gilt vignettes to rear covers, smooth spines with elaborate decorative tooling and titles in gilt, all with additional colour heightening, cream glazed endpapers (vol. 1) and yellow (vol. 2), a.e.g. The most desirable issue of 'Perles et Parures' with the hand-coloured plates on vélin 'découpés en dentelles' and in the original polychromatic percaline bindings. Published under the collective title 'Perles et Parures', these first editions of 'Les Joyaux Fantaisie' (with 'Minéralogie des Dames') and 'Les Parures Fantaisie' (with 'Histoire de la Mode'), are here in the most desirable form, with Gavarni's plates printed on vélin, delicately hand- coloured and with the leaves stencil-cut to a lace pattern to form delicate frames and backed with pink paper. The two volumes contain jewel- and fashion-inspired texts with matching illustration, as stated by Ray: 'They are studies of beautiful women, fashionably attired . which were drawn in London'. ' . more appealing [than the normal edition] is this special edition in which the steel engravings are printed and delicately colored on paper with borders cut to various lace patterns. So presented, Gavarni's designs become fashion plates of the first order.' (Ray). 'La réunion des deux ouvrages avec les gravures à marges de dentelles est assez rare à recontrer.' (Carteret). [Ray 209A / 210; Carteret III, 460 / 461].
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Je Ne Mange Pas De Ce Pain-Là.

ERNST, Max. Péret, Benjamin. 12mo. (156 x 112 mm). [52 leaves + 6 inserted leaves with Ernst's original etching; pp. 99, (ii)]. Half-title with 'Du Même Auteur' verso, original monochrome etching signed in pencil by Max Ernst as frontispiece on chine (sheet size: 140 x 105 mm) together with the additional suite of the same etching in blue, charcoal, green, purple and sanguine, each also on chine and signed in pencil by Ernst, printed title with copyright verso and Péret's 28 poems, two leaves with 'table des Matières', final leaf with justification recto and achevé d'imprimer verso. Full anthracite polished calf by Georges Leroux with his signature gilt and dated '1962', front board with onlaid cruciform motif composed of vertical and horizontal sections of snakeskin and two-tone polished calf, rear board with the motif inverted, smooth spine with gilt title, chocolate polished calf and brushed suede doublures and endpapers,original scarlet printed wrappers and backstrip preserved, a.e.g., chocolate suede-lined anthracite calf-backed wood board chemise with gilt title and matching slipcase. Benjamin Péret's rare verse collection 'Je Ne Mange Pas De Ce Pain-Là', here on scarlet paper, with Max Ernst's etching as frontispiece together with the very are additional suite in colour, all signed by Ernst in pencil. From the edition limited to 250 copies, with this copy one of 25 'exemplaires d'auteur' on scarlet 'le Roy Louis teinte bourgogne' paper with an original etched frontispiece by Max Ernst on chine, exceptionally signed by the artist in pencil together with the additional suite of the same etching in blue, charcoal, green, purple and sanguine, also exceptionally signed. The additional suite in the present copy is of the utmost rarity: Spies, pace the justification of the book, lists the suite as having been issued solely with the first copy of the book (numbered 1 on Japon Nacré) while other sources suggest it was issued only with the 15 copies of the second paper (numbered 2 - 16 on Japon impérial), however, the Edmée Maus / Daniel Filipacchi copy on Japon Impérial contained the etching in only two states; the only other example of the present suite we trace was in Jacqueline Breton's copy, also, as here, on scarlet le Roy Louis teinte bourgogne. Breton's suite was not signed by Ernst. Also included in the present copy, tipped-in, is the original subscription leaf for the book also printed on scarlet paper. This rare collaboration between Benjamin Péret and Max Ernst, with Ernst providing a Surrealist etching as the frontispiece for twenty-eight of Péret's poems, features some of Péret's most virulent polemic. In 1959, on his death, the title of the work was used as Péret's epitaph in the cemetery in Batignolles. ' . Max Ernst a réalisé un frontispice devenu célèbre, sorte de créature marine ressemblant à un hippocampe avec une patte de poulet et un oeil qui fixe paraît avoir été inspiré par le poème 'Nungesser und Coli Sind Verreckt' . La quintuple suite en couleurs de l'eau-forte, annoncée pour l'exemplaire no 1 sur Japon nacré, ne fut semble-t-il jointe que dans de rares exemplaires . Ces 28 poèmes sont en effet particulièrement virulents, anti-patriotiques, anti-cléricaux et anti-militaristes. Benjamin Péret y livre toute sa verve, toute son énergie avec un talent dévastateur.' (see 'Bibliothèque d'un Amateur Européen'). [Spies 18, A & B; Gershman pg. 32; see lot 105 in 'Bibliothèque d'un Amateur Européen', Christie's Paris, 2006 for Jacqueline Breton's copy].
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Les Malheurs des Immortels révélés par Paul Eluard et Max Ernst.

ERNST, Max. Eluard, Paul. 4to. (250 x 190 mm). [22 leaves; pp. 43, (i)]. Half-title with monochrome frontispiece by Ernst verso, printed title and Eluard's text illustrated with twenty monochrome plates after collages by Ernst, final leaf verso with advertisement and achevé d'imprimer. Original publisher's printed wrappers with titles to front cover in black. Presentation copy of the first edition of the seminal collaboration marking the boundary between dada and Surrealism. From the small edition of unknown size on simili-japon with a presentation in black ink to the half-title: 'à Madame / Paulette Nougé / Les malheurs des immortels [printed] / pour qu'elle marche sur / les lignes de sa main / Max Ernst'. Paulette Nougé was the wife of Paul Nougé, the Belgian poet and theoretician who co-founded Surrealism in Belgium and collaborated on several books with Magritte. This first edition of 1922 - which was issued in very small numbers - of 'Les Malheurs des Immortels' matches Paul Eluard's prose poems with Max Ernst's 'synthetic' collages. Each poem is faced with one collage. The final leaf verso features an advertisement for Ernst and Eluard's previous text / collage collaboration 'Repetitions' which was published earlier in the same year. 'Ce livre d'étroite collaboration peintre-poète est un des jalons majeurs du livre au vingtième siècle . Pour Werner Spies ('La Révolution Surréaliste', 2002) le livre exprime une 'rupture visible du monde objectif, matérialisée par les images', rupture entre les plans sémantiques qui est aussi réciprocité, où la 'consience bicéphale' donne une coordination précise au texte et aux paires collage-texte . Les thèmes des collages des 'Malheurs des Immortels', incluent des métamorphoses hoome-animal, des parties vivantes animant des machines, les éléments (air, eau . ) mêlés, ou la tension électrique, mécanique ou érotique . L'importance de ces collages est soulignée par le fait que c'est essentiellement grâce à eux que le groupe surréaliste naissant prit conscience des possibilités plastiques du surréalisme.' (De Parallèlement à Chanson Complète). A second edition in smaller format was published by Editions de la Revue Fontaine, also in Paris, in 1945; the first edition in English was published by the Black Sun Press in New York in 1943. A German edition was published in Cologne by Galerie der Spiegel in 1960. [see 'De Parallèlement à Chanson Complète', pp. 167 - 174].
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Mr. Knife, Miss Fork.

ERNST, Max. Crevel, René & Kay Boyle (Trans.). 8vo. (184 x 126 mm). [45 leaves: 26 leaves of Hollande + 19 leaves of illustration on photographic paper each with guardleaf; pp. 38, (i), (i)]. Leaf with monochrome photogram frontispiece signed by black ink by Max Ernst, half-title, printed title in red and black with knife and fork vignette and Kay Boyle's English trasnlation of Crevel's French text illustrated with 18 hors texte original monochrome full-page photograms by Max Ernst (in collaboration with Man Ray), each with tissue guard-leaf with printed title in red, leaf with justification, blank leaf and final leaf with list of Black Sun publications; printed text in English with lagination, photogram titles and initials in red throughout. Original blind and gilt-stamped cloth with hand-colouring after a design by Ernst, knife and fork design on spine, black endpapers, t.e.g., black calf-backed felt-lined moiré cloth board chemise with gilt titles to spine and matching slipcase. An excellent copy of the large paper édition de tête of Mr. Knife, Miss Fork with Max Ernst's frottage photograms. From the edition limited to 255 stamp-numbered copies, with this one of 50 large paper édition de tête copies on Hollande signed by Crevel on the half-title in blue ink and by Ernst on the frontispiece photogram in black and with the binding hand coloured by Ernst. The English translation of of the first chapter of René Crevel's 'Babylone', 'Monsieur Couteau, Mademoiselle Fourchette', first published by Editions Simon Kra in 1927. 'Although it is usually said that Ernst collaborated with Man Ray to make 'photograms' of his frottages, it is more accurate to call them 'cliché-verres' . Ernst's rubbings (from the embossed patterns on greetings cards, postcards, bookcovers, etc.) were done on very thin, translucent pieces of paper, which were then used as photographic negatives to make the prints. The white-on-black images do a fine job of representing the dark visions of death and desire that come to the girl in Crevel's story . '. (The Book of 101 Books). 'Buch mit 19 eingehefteten Photogrammen von Frottagen, in Zusammenarbeit mit Man Ray . Die Photogrammen sind Negativkopien von Frottagen . '. (Spies). [Spies 13, I - XIX; Roth, 'The Book of 101 Books' pp. 66 - 67].
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Où Boivent les Loups.

ERNST, Max. Tzara, Tristan. 12mo. (194 x 148 mm). [94 leaves ; pp. 173, (i)]. Half-title with Tzara's presentation (see below) and 'Du Même Auteur' verso, three leaves with the frontispiece etching by Ernst in three states verso (see also below), printed title with copyright verso, two inserted leaves with manuscript by Tzara and Tzara's verse: 'Pièges en Herbe', 'La Fonte des Ans', 'Où Boivent les Loups' and 'Le Puisatier des Regards', three leaves with 'Table' and final leaf with justification. Full black crushed morocco by Pierre-Lucien Martin with his signature gilt and dated '1955', front and rear boards and spine with elaborate gilt rules in gilt and blind to form an elaborate parallelogrammatic motif, boards with additional heightening onlays of scarlet and beige calf, title gilt to spine, turn-ins ruled in gilt, japon nacré doublures and endpapers, original printed wrappers with titles in black to front cover and spine and publisher's vignette to rear cover preserved, black calf-backed red paper board chemise and matching slipcase. André Breton's copy of the rare édition de tête on Japon Nacré with a long presentation from Tzara and Max Ernst's frontispiece etching in three states. From the edition limited to 1,010 numbered copies, with this one of 10 from the édition de tête on Japon Nacré, signed by Tzara in blue ink and with Max Ernst's original etching as frontispiece; Ernst's etching, here in three states, was issued only with the édition de tête and the three nominatif copies for the author, artist and publisher. Tzara's long, affectionate and evocative presentation is in black and blue inks to the half-title: 'à André Breton [in black ink, the remainder in blue] / tout au long d'une vie et d'une mort corrigées / sans égards pour les écuries des sommeils / dans la solitude dans l'instable souffle des insectes / dans la raréfaction des contrastes / en signe de complicité linéaire / et d'amitié / Tristan Tzara / [with a drawing of a flower] / Oct. '34'. The etching, printed by Roger Lacourière, is present in the final published version (Spies E) on Chine appliqué, without letters on Chine appliqué (Spies D) and with the plate cancelled on Chine (not listed by Spies). The etching is itself of considerable rarity in any state with Spies recording only 16 copies in total, no mention of pulls of the barred plate and with the 'D' state known in only a single pull. Also included, bound in after the title, is Tzara'sn original manuscript for 'et du jour au lendemain', recto only in blue ink, the eighth poem in four stanzas of 'La Fonte des Ans'; all of Tzara's text is printed in lowercase throughout. 'Ouvrage avec une rarissime gravure de Max Ernst tirée sur Chine appliqué. Cette gravure s;inscrit dans le cycle de 'Loplop', personnage mi-homme mi-oiseau que l'artiste s'est choisi comme double figural vers 1930. Tout en courbes ornementales, ce drôle d;oiseau semble ici avoir pondu ses oeufs dans un encadrement tiré au cordeau.' (Biblithèque d'un Grand Amateur Européen). The édition de tête of 'Où Boivent les Loups' with Max Ernst's frontispiece is truly scarce and we can locate only the present copy with the presentation to Breton, Tzara's copy (number 9) sold in 2006 and in a private collection in Germany, Jacques Matarasso's copy sold in 1993, and the editor, René Laporte's copy, sold in Paris in 2016. [Spies / Leppien 14; see 'Biblithèque d'un Grand Amateur Européen', lot 126; see Bibliothèque Matarasso, Loudmer, 1993, lot 660].
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Rêve d’une Petite Fille Qui Voulut Entrer au Carmel.

ERNST, Max. 4to. (238 x 192 mm). [88 unnumbered leaves]. Half-title with justification verso, printed title, 2 leaves with illustration ('L'Académie des Sciences') and intoductory text, section titles for each part and illustrated with seventy-eight monochrome plates printed recto only by Ernst, each with printed caption, ('I - La Ténébreuse' with 22 plates, 'II - La Chevelure' with 25 plates, 'III - Le Couteau' with 21 plates, 'IV - Le Céleste Fiancé' with 10 plates), final leaf with achevé d'imprimer recto; sheet size: 234 x 184 mm. Full veined emerald crushed morocco by Georges Leroux with his signature gilt and dated '1987', smooth spine with copper titles, turquoise brushed suede doublures and endpapers, original turquoise printed wrappers and backstrip preserved, a.e.g., matching suede-lined calf-backed green cloth chemise with gilt title to spine and matching green cloth slipcase. An exceptional édition de tête example of Max Ernst's collage novel on Japon bound by Leroux. From the edition limited to 1,063 numbered copies, with this one of 20 édition de tête copies on Japon Impérial numbered in Roman numerals in black ink on the justification ('20 ex. sur Japon Impérial, dont 17 numérotés de I à XVII et 3 ex. H. C., numérotés de XVIII à XX'). Also included, mounted to a tab at the rear of the volume, is the folded sheet of magenta card (234 x 165 mm) for the 1964 exhibition 'MAX ERNST / Collages, frottages, ready-mades (1919 - 1929)' at the Galleria Schwarz in Milan, where a number of Ernst's original collages for the present work were exhibited. The card reproduces the front cover of 'Rêve d'une Petite Fille Qui Voulut Entrer au Carmel', includes a reproduction of one of the collages within and a reproduction of the very early work 'Le mugissement des féroces soldats' to the rear. Rêve d'une Fille Qui Voulut Entrer au Carmel is the second of Max Ernst's trilogy of Surrealist books with illustrations after his collages, the first was La Femme 100 Têtes (1929) and the third and concluding work, Une Semaine de Bonté (1934). Ernst had, prior to the publication of La Femme 100 Têtes in 1929, produced two books with similar illustration to accompany texts by Paul Eluard: Les Malheurs des Immortels and Répétitions. Both published in 1922 in small editions and with much smaller numbers of plates, neither book featured a tirage in large paper or édition de tête, a treatment that was only accorded to Ernst's suite of reproduction frottages of 1926, Histoire Naturelle before the publication of La Femme 100 Têtes. The éditions de tête of Histoire Naturelle (25 copies) and La Femme 100 Têtes (12 copies) were, like the 20 édition de tête examples of Rêve d'une Petite Fille qui Voulut Entrer au Carmel, printed on Japon Impérial paper and it must be stated that each of these de tête printings are of the utmost scarcity in the market. We can locate only one example of each of these books in the édition de tête at auction: the Daniel Filipacchi copy of Histoire Naturelle, the René Gaffé / Edmée Maus / Renaud Gillet / Fred Feinsilber copy of La Femme 100 Têtes and the copy of Rêve d'une Petite Fille qui Voulut Entrer au Carmel from the collection of René Gaffé. That two of these three works were owned by René Gaffé, and only one by the great collector of Surrealism Daniel Filipacchi, is indicative both of the significance of Gaffé's stature as a collector and of the scarcity of copies of books such as these.
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Untitled. (The Bird People). From the VVV Portfolio.

ERNST, Max. Folio. (454 x 355 mm). Crayon on paper by Max Ernst, signed in pencil at lower right. Max Ernst's contribution to one of key publications of Surrealist activity in New York. From the edition limited to approximately 20 copies; although 50 were announced it is very likely that fewer were issued. Although this work by Ernst is part of an edition, each extant iteration is unique. Ernst often made use of an underlying matrix over which he placed sheets of paper, then by way of his frottage technique he would create an image to be coloured by hand. The background image, the 'Bird People', created here with a pastel or crayon, has led to some confusion as to the technique used by Ernst and is found described variously. The current work is part of a portfolio of 10 works commissioned to finance the 'VVV' journal, the Surrealist magazine produced in New York by Europeans in exile during the Second World War. The journal lasted only 4 numbers (one a double) but was highly influential and markedly avant garde. The editorial board consisted on André Breton, Marcel Duchamp, and Max Ernst, with David Hare as general editor. The separate porfolio is of considerable scarcity and the projected edition was never completed.The artists other than Ernst, involved, and their contributions, were: André Breton - 'Poème-Objet' (collage), Alexander Calder - 'Score for Ballet 0-100' (etching), Leonora Carrington - 'Untitled' (etching), Marc Chagall - 'Eiffel Tower' (etching), David Hare - 'Untitled' (mounted gelatine silver print photograph), Andre Masson - 'Les Fruits de l'Abîme' (etching), Roberto Matta - 'Untitled' (watercolour and pencil on paper), Robert Motherwell - 'Untitled' (watercolour and ink on paper), and Kurt Seligmann - 'Phantom of the Past' (etching with aquatint). [see Surrealist Prints pg. 96].
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Une Semaine de Bonté, ou, Les Sept Elements Capitaux. Roman.

ERNST. 5 vols. 4to. (280 x 224 mm). Illustrated throughout with monochrome plates after Ernst's cut-up found etchings. Original publisher's printed colour wrappers (purple, green, red, blue and orange) with Yapp edges, original card slipcase with green illustrated label to front board and title label to spine. An excellent copy of Max Ernst's Une Semaine de Bonté, ou les Sept Elements Capitaux. From the edition limited to 816 copies, with this one of 800 on 'papier Navarre', each numbered in pencil as issued (many copies feature stamped numbers). The five 'cahiers' of Ernst's seminal graphic novel, albeit without text, are individually titled as follows: Premier Cahier: Dimanche / Elément: La Boue. Exemple: Le Lion de Belfort. (Purple wrappers). Deuxième Cahier: Lundi / Elément: L'Eau. Exemple: L'Eau. (Green wrappers). Troisième Cahier: Mardi / Elément: Le Feu. Exemple: La Cour du Dragon. (Red wrappers). Quatrième Cahier: Mercredi / Elément: Le Sang. Exemple: Oedipe. (Blue wrappers). Cinquième Cahier: Jeudi, Vendredi, Samedi / Eléments: Le Noir / La Vue / Inconnu. Exemples: Le Rire du Coq, L'Ile de Paques / L'Interieur de la Vue / La Cle des Chants. (Yellow wrappers). Une Semaine de Bonté is the last of Max Ernst's trilogy of Surrealist books, after 'La Femme 100 Têtes' (1929) and 'Rêve d'une Petite Fille Qui Voulut Entrer au Carmel' (1930), with illustrations after his collages. The collages, in the manner of nineteenth-century engravings, were made by Ernst from old etched and engraved plates.
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Misfortunes of the Immortals. Translated by Hugh Chisholm.

ERNST, Max. Eluard, Paul. 4to. (257 x 189 mm). [28 leaves including 4 leaves of pink paper; pp. 44, (i), (iii), (i), (i)]. Leaf with monochrome frontispiece by Ernst verso, printed title, half-title and Eluard's text in French and English translation by Hugh Chisholm above illustrated with twenty monochrome plates after collages by Ernst, section title 'Vingt Ans Après', four leaves of pink paper with three monochrome collages by Ernst, leaf with 'List of Drawings' and final leaf with justification. Original publisher's pink printed boards with titles to front cover and spine in black, front cover with the inset inverted reproduction of Ernst's collage 'Rencontre de Deux Sourires' on yellow rhodoïd with a yellow background. An excellent unsophisticated copy from the édition de tête of the first edition in English of the seminal collaboration marking the boundary between dada and Surrealism. From the edition limited to 610 numbered copies, with this one of 110 copies from the édition de tête on Strathmore Rag paper signed and numbered by the artist in black ink; a pencil note to the front free endpaper suggests that this is one of the first 50 copies, the only copies to feature the yellow rhodoïd insert and the pink boards, the subsequent 60 copies being issued in green paper-covered boards. ' . un des jalons majeurs du livre au vingtième siècle . '. (De Parallèlement à Chanson Complète conserning the first edition). The first edition of 'Misfortunes of the Immortals' was published in Paris in 1922 in very small numbers as 'Les Malheurs des Immortels'. The book matches Paul Eluard's prose poems - here also with Hugh Chisholm's English translation above Eluard's original French - with Max Ernst's 'synthetic' collages, with each poem faced with one collage. The order of both text and collage is altered for this first edition in English, designed by Caresse Crosby and published by her Black Sun Press and the collages are reproduced at a slightly larger size than in the original 1922 edition. This version also includes a supplement of three collages on pink paper titled 'Vingt Ans Après' together with a 'List of Drawings'. Neither the supplement nor the different order of text and image was retained for the second Paris edition published in 1945. A German edition was published in Cologne by Galerie der Spiegel in 1960. 'This edition is further augmented by Three drawings Twenty Years After. The Misfortunes of the Immorals was first published in Paris in 1920 [sic], originally revealed in French by Paul Eluard and Max Ernst, and now translated into English by Hugh Chisholm. This edition has been designed and published by Caresse Crosby, handset in Spartan type 12 point and printed at the Gemor Press in the city of New York, March 1943.' (From the justification). [see 'De Parallèlement à Chanson Complète', pp. 167 - 174].
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Mr. Knife, Miss Fork.

ERNST, Max. Crevel, René & Kay Boyle (Trans.). 8vo. (184 x 122 mm). [45 leaves: 26 leaves of Hollande + 19 leaves of illustration on photographic paper each with guardleaf; pp. 38, (i), (i)]. Leaf with monochrome photogram frontispiece signed by black ink by Max Ernst, half-title, printed title in red and black with knife and fork vignette and Kay Boyle's English trasnlation of Crevel's French text illustrated with 18 hors texte original monochrome full-page photograms by Max Ernst (in collaboration with Man Ray), each with tissue guard-leaf with printed title in red, leaf with justification, blank leaf and final leaf with list of Black Sun publications; printed text in English with lagination, photogram titles and initials in red throughout. Original blind and gilt-stamped cloth with hand-colouring after a design by Ernst, knife and fork design on spine, black endpapers, t.e.g., black calf-backed felt-lined moiré cloth board chemise with gilt titles to spine and matching slipcase. 'Mr. Knife, Miss Fork' with Max Ernst's frottage photograms. From the edition limited to 255 stamp-numbered copies, with this one of 200 copies on Bristol. The English translation of of the first chapter of René Crevel's 'Babylone', 'Monsieur Couteau, Mademoiselle Fourchette', first published by Editions Simon Kra in 1927. 'Although it is usually said that Ernst collaborated with Man Ray to make 'photograms' of his frottages, it is more accurate to call them 'cliché-verres' . Ernst's rubbings (from the embossed patterns on greetings cards, postcards, bookcovers, etc.) were done on very thin, translucent pieces of paper, which were then used as photographic negatives to make the prints. The white-on-black images do a fine job of representing the dark visions of death and desire that come to the girl in Crevel's story . '. (The Book of 101 Books). 'Buch mit 19 eingehefteten Photogrammen von Frottagen, in Zusammenarbeit mit Man Ray . Die Photogrammen sind Negativkopien von Frottagen . '. (Spies). [Spies 13, I - XIX; Roth, 'The Book of 101 Books' pp. 66 - 67].
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Le Dimanche d’un bon bourgeois, ou les Tribulations de la petite propriété par Isidore Granville [sic].

GRANDVILLE. Oblong small folio. (252 x 335 mm). [13 leaves + inserted leaf]. Leaf with printed title / wrapper and twelve monochrome lithographs on cream wove paper with printed caption / title beneath and numbered at upper right, each with additional colouring by hand; with an additional proof of 'Tribulation 9' (see below). Sheet size: c. 246 x 330 mm). Contemporary calf-backed marbled boards, paper label to front board with manuscript title: 'Caricatures. / Le Dimanche d'un Bon Bourgeois . / par Isidore Granville [sic] / a Paris', pale blue endpapers, original printed wrapper on purple paper retained as title. The first edition, first issue of the first of Grandville's famous series of caricatures. Inspired by English caricatures and caricaturists, Grandville mocks the domestic and social lives of the Parisian bourgeoisie. In this series of prints he depicts the adventures and misadventures of a family with two children accompanied by a servant and their dog. The story starts with their rising at 7 in the morning with the plates delineating the stations of the day until their return at midnight. Everything that can go wrong goes wrong: horses go wild, the picnic is interrupted by storms, the children run riot while the father drinks, provokes a scene and is escorted 'chez le Maire', the family returns to Paris on foot and in the rain, they lose their keys, and so on. As per Rebeyrat, ten of the plates feature additional numbers at upper right in the first state; these additional numbers were removed for later issues of the plates. This copy includes, loosely inserted, an additional proof, uncoloured on white wove paper and mounted to a larger sheet of laid paper (the backing sheet is foxed considerably) for '9e. Tribulation: 7 heures du soir. / Conduite chez le Maire'. The proof is annotated beneath with the title in pencil, and verso in a different hand. 'La plupart des bibliographes donnent pour première suite lithographiée 'Chaque âge à ses plaisirs'. Annie Renonciat fait cependant observer que 'Le Dimanche d'un bon bourgeois' entre au dépôt légal de décembre 1826 à janvier 1827. 'Chaque age' ne sera déposé qu'en deecembre 1827.' (Benoît Forgeot). [Rebeyrat 291; SR / BF 3; Rahir 447].
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Voyage pour l’Eternité. Service Général des Omnibus Accélerés. Départ à Toute Heure et de Tous les Points du Globe.

GRANDVILLE. Oblong small folio. (272 x 364 mm). [10 leaves]. Lithograph title / wrapper with monochrome vignette by Grandville on pink wove paper (348 x 268 mm) and nine monochrome lithographs on cream wove paper with printed caption / title beneath and numbered at upper right, each with additional colouring by hand and heightened with gum arabic, all the lithographs, save the first, are signed J. Grandville. Loose as issued with the original lithograph cover. The complete series of Grandville's very scarce unfinished suite of satirical and moralistic hand-coloured lithographs. Planned originally to have 23 plates, the publisher, Bulla, stopped publication after the ninth plate because of the political events of July 1830. As noted by CLive Getty: 'Comme dans 'Les Métamorphoses du Jour', Grandville a probablement glissé quelques caricatures politiques parmi les planches moralisantes du 'Voyage pour l'Eternité, où apparaissent vraisemblablement des personnages du gouvernement de Charles X.' Grandville took the idea for this set from Holbein's 'Dance of Death' series bringing the scenes up to date. Here, according to Grandville, death works in a pharmacy mixing drugs, in the army, as a prostitute, chef, chimney sweep and so on. Honoré de Balzac wrote (see 'La Silhouette', Vol. 2, Livraison 4, pg. 28): 'De la profondeur philosophique et de la caricature, voilà ce qu'on ne fait qu'en France et qu'a Paris. M. Grandville avait donné de la bêtise aux hommes, de l'esprit aux animaux, il vient de donner de la gaieté à la mort.' The plates are titled as follows: No. 1 - 'C'est ici le dernier relais'. No. 2 - 'Vais-je bien? . vous avancez horriblement!' No. 3 - 'Monsieur le Baron, on vous demande? . Dites que je n'y suis pas.' No. 4 - 'Soyez tranquille, j'ai un Garçon qui ne se trompe jamais.' No. 5 - 'Voilà, Messieurs, un plat de mon métier.' No. 6 - 'Voulez vous monter chez moi, mon petit Monsieur, vous n'en serez pas faché aller.' No. 7 - ' . pour une Consultation, docteur j'en suis, j'vous suis . '. No. 8 - 'Oui Madame, ce sera bien la proménade la plus délicieuse! . une voiture dans le dernier goût! . un Cheval qui fend l'air, et le meilleur Groom de France! . '. No. 9 - 'Première Etape.' [Rahir 447; Rebeyrat 292; SR / BF 14; see Getty 152].
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Les Fleurs Animées, par J. -J. Grandville.

GRANDVILLE. 2 vols. 8vo. (268 x 182 mm). pp. (ii), 260, (i); (ii), (i), (i), 102; (i), (iv), (iv), 105 - 234, (i). Half-titles with printer's credit verso, elaborate engraved pictorial titles with additional colouring by hand and printed titles to each vol., printed text and 50 engraved plates all with additional colour by hand; the two parts of the supplement 'Botanique et Horticulture des Dames' with introduction by Karr and text by 'le Comte Foelix' with the two additional uncoloured engraved plates are also present. Original publisher's midnight blue percaline with elaborate polychromatic decoration and decoration in blind, front boards with elaborate gilt decorative borders to surround large central vignettes with design 'Le Lin' (page 237) after Grandville, rear board with stylised vignette with anthropomorphic flower with snail and caterpillar, smooth spine with elaborate gilt tooling, yellow glazed endpapers, a.e.g. Grandville's 'Les Fleurs Animées', a very good copy in the second publisher's cartonnage. The second issue with separate pagination for each volume. 'After 'Un Autre Monde' the fifty-two coloured engravings of 'Les FLeurs Animées' are the chief example of Grandville's efforts to penetrate to the meaning objects like an 'intellectual miner' . Though the images in the book are of Grandville's time, his manner of proceeding is that of an artist of the modern movement, exploring the same subject through a sequence of slight but significant variations . A little world is created, governed by its own laws . full of significance for Grandville and hence . the reader . '. (Gordon Ray). 'Les cartonnages et surtout les reliures de l'editeur . sont à rechercher.' (Carteret). [SR / BF 93 / 94 / 95; Ray 198; Rebeyrat 287; Carteret 286].
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Les Papillons. Métamorphoses Terrestres des Peuples de l’Air.

VARIN, Amédée. Nus, Eugène & Antony Meray. 2 vols. Large 8vo. (270 x 190 mm). pp. (ii), (i), (i), (i), 232, (i), (i); (ii), (i), (i), (i), 258, (i), (i). Half-titles with printer's credit verso, engraved pictorial titles with additional colour by hand and printed titles to each vol. and text illustrated with 35 wood-engravings by Varin (including pictorial titles) each with additional colour by hand, final section 'Entomologie des Dames' with numerous monochrome text vignettes. Original publisher's dark blue percaline with elaborate polychromatic decoration, front boards with gilt title and elaborate decorative border to surround central vignette ('Le Bolero' see vol. 2, page 87) with additional colour, butterfly vignette to rear covers, smooth spines with gilt titles and elaborate gilt tooling, yellow glazed endpapers, a.e.g. [PROVENANCE: Printed bookplate of Paul Eluard designed by Max Ernst (with the text: 'Après moi / le Sommeil') to front pastedown of vol. 1]. Paul Eluard's copy of of 'Les Papillons' in the publisher's polychromatic binding. Although not a work by Grandville, 'Les Papillons' with its anthropomorphic depictions is very much in a similar style. The series of texts by Nus and Meray are illustrated with fancifully inspired and characterised butterflies by Amédée Varin. Like Grandville's oeuvre, 'Les Papillons' can also be seen as a precursor of Surrealism as the present copy, from the collection of founding Surrealist Paul Eluard with his Ernst-designed bookplate attests. The present copy retains its beautiful polychromatic binding with elaborate gilt stamps heightened with colour. [Carteret III, 452].
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Les Malheurs des Immortels révélés par Paul Eluard et Max Ernst.

ERNST, Max. Eluard, Paul. 8vo. (224 x 164 mm). [24 unnumbered leaves]. Half-title with monochrome frontispiece by Ernst verso, printed title and Eluard's text illustrated with twenty plates after collages by Ernst, final leaf of text with publisher's note concerning the first edition verso, leaf with achevé d'imprimer and justification recto, printer's credit verso. Original publisher's printed wrappers with titles to front cover and spine in green and black. An excellent unsophisticated copy from the édition de tête, limited to 10 copies on Madagascar, of the second edition of the seminal collaboration marking the boundary between dada and Surrealism. From the edition limited to 1,860 numbered or lettered copies, with this one of 10 lettered hors commerce copies from the édition de tête on Madagascar. Reprinted by Henri Parisot from the edition of 1922, which was issued in very small numbers ('un petit nombre d'exemplaires' as per the publisher's note), this second edition reproduces the first exactly adding only a publisher's explanatory note and a justification. 'Les Malheurs des Immortels' matches Paul Eluard's prose poems with Max Ernst's 'synthetic' collages. Each poem is faced with one collage; the collages are reproduced at two thirds of the size of those in the orignal edition. An English edition was published by the Black Sun Press in New York in 1943 and a German edition in Cologne by Galerie der Spiegel in 1960. 'Ce livre d'étroite collaboration peintre-poète est un des jalons majeurs du livre au vingtième siècle . L'importance de ces collages est soulignée par le fait que c'est essentiellement grâce à eux que le groupe surréaliste naissant prit conscience des possibilités plastiques du surréalisme.' (De Parallèlement à Chanson Complète).
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La Femme 100 Têtes.

ERNST, Max. 4to. (254 x 202 mm). [164 unnumbered leaves]. Leaf with justification verso, half-title, printed title with copyright verso, 3 leaves with Breton's 'Avis' recto and verso and 'Chapitre Premier' to 'Chapitre Dernier' with one leaf of text ('Sachez que . &c.') illustrated with 147 monochrome plates printed recto only after collages by Ernst each with printed caption, final leaf with achevé d'imprimer recto. Full emerald crushed morocco by Georges Leroux with his signature gilt and dated '1969', smooth spine with gilt titles, olive brushed suede doublures and endpapers, original publisher's turquoise printed wrappers with titles and vignette in black preserved, a.e.g., later green cloth board slipcase. Max Ernst's own copy of the édition de tête of La Femme 100 Têtes on Japon Impérial paper. From the edition limited to 1,000 numbered copies, with this édition de tête copy - lettered 'B' in black ink - one of three hors commerce copies on Japon Impérial (12 numbered copies were also issued on the same paper. The justification of the present copy features Max Ernst's bookplate and a note in blue ink on squared paper is also included, loosely inserted, from the binder Georges Leroux: 'cet exemplaire de 'la Femme sans tête' [sic] m'a été / confié par Ma Ernst le 12 Mai 1968 - / Je le lui ai rendu en Mars 1969. / le prix de la reliure était de 1.250 N. F. / (Georges LEROUX)'. The justification features the printed name 'Marie-Berthe', the name of Max Ernst's second wife, Marie-Berthe Aurenche, as in ' . 3 ex[empaires]. H[ors]. C[ommerce]. dont l'un imprimé au nom de . ', but in the present copy, 'Marie-Berthe' has been excised and seemingly with prejudice, the printed name scraped and overlaid with blue, sepia and heavy black inks to form the word 'MERDE'. It is very tempting to assume that this replacement was effected by Ernst himself, or by one of his later wives, Peggy Guggenheim or Dorothea Tanning. Also included, loosely inserted, are eight leaves of proofs including the half-title, title, the first plate 'Crime ou miracle: un homme complet' and the 'Avis au Lecteur' by André Breton. The proofs are for a later edition of 'La Femme 100 Têtes' that was to be published by 'Arcanes' in 1954 (the leaves are stamped '9 MARS 1954' on an initial blank) although it was never issued. The complete text of Breton's 'Avis' features extensive corrections in black ink in Breton's hand, the text matches that of the first edition and is inscribed on the first page of text 'Bon à tirer / après corrections [underlined] 21 mars 1954 / AB.'. 'La Femme 100 Têtes' is the first of Max Ernst's trilogy of Surrealist books with illustrations after his collages. The collages, in the manner of nineteenth-century engravings, were made by Ernst from old etching and engraving plates and each feature a descriptive caption by Ernst. The 'Avis au Lecteur' serving as preface was written by André Breton. Referred to subsequently as a 'collage novel', the work is divided into 9 chapters but features only one leaf of text; inserted between the end of the 'Chapitre Huitième' and the 'Chapitre Dernière', the text reads as follows: 'Sachez que, / de mémoire d'homme, la femme 100 têtes n'a jamais eu de rapport / avec le fantôme de la repopulation. Elle n'en aura pas: plutôt se / faire macérer dans de la rosée et se nourrir de violettes glacées.' 'La Femme 100 têtes sera, par excellence, le livre d'images de ce temps où il va de plus en plus apparaître que chaque salon est descendu 'au fond d'un lac' et cela, il convient d'y insister, avec ses lustres de poissons, ses dorures d'astres, ses danses d'herbes, son fond de boue et ses toilettes de reflets. Telle est à la veille de 1930, notre idée de progrès que nous sommes heureux et impatients, pour une fois, de voir des yeux d'enfants, grands de tout le devenir, s'ouvrir comme des papillons au bord de ce lac tandis que pour leur émerveillement et le nôtre tombe le loup de dentelle noire qui recouvrait les cent premiers visages de la fée.' (André Breton writing in the 'Avis au Lecteur'). Copies of La Femme 100 Têtes on Japon Impérial paper from the édition de tête, as here, are of exceptional rarity. As with Max Ernst's other early books, such as the 1930 Rêve d'une Petite Fille qui Voulut Entrer au Carmel (the second part of the same trilogy of collage novels concluding with Une Semaine de Bonté in 1934) and the 1926 Histoire Naturelle which were also issued in the édition de tête in small numbers on Japon Impérial, copies appear very rarely on the market. We can locate only one other example from the édition de tête, the René Gaffé / Jean Hugues / Edmée Maus / Renaud Gillet / Fred Feinsilber copy sold at Sotheby's Paris in 2006. The important collection of Daniel Filipacchi, a noted devotee of the work of Max Ernst, sold by Christie's Paris in two parts in 2004 and 2005 did not include a copy of La Femme 100 Têtes from the édition de tête. It is worth noting, in addition, that André Breton, the author of the 'Avis au Lecteur' of Ernst's work and a noted bibliophile, only possessed a copy of La Femme 100 Têtes on the second paper, Hollande Pannkoek. 'Presque tout, dans l'oeuvre de Max Ernst, se rattache au collage . On pourrait [en] conclure qu'il [La Femme 100 Têtes] d'un chant d'amour Surréaliste. L'ouvrage connut un succès immédiat. Le tirage fut épuisé en quelques semaines . Ouvrage précurseur, puisqu'il inaugure un élargissement fondamental par rapport aux collages antérieurs, La Femme 100 Têtes révèle une écriture et une conception picturale nouvelles.' (From the Feinsilber catalogue). [see lot 195 in the catalogue 'Collection Fred Feinsilber, Sotheby's Paris, October, 2006].
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Un Autre Monde: Transformations, visions, incarnations, ascensions, locomotions, explorations, peregrinations . &c.

GRANDVILLE. (Delord, Taxile). Large 8vo. (266 x 200 mm). pp. (ii), (i), (i), 295, (i). Half-title in red with pseudo-privilège verso (also in red), leaf with frontispiece verso, printed title in red and printed text illustrated with 36 hors-texte wood-engraved plates all with additional colouring by hand and 146 wood-engravings in the text, final two leaves with 'Table', 'Explication' and 'Errata' verso. Original publisher's midnight blue percaline with elaborate polychromatic decoration, front board with large central pictorial vignette reproducing the frontispiece with additional colour in red, white, green and blue (signed Liebherre), beneath an additional title vignette heightened in blue, gilt pictorial vignette to rear board, titles and elaborate gilt decoration heightened with colour to spine, additional decoration in blind, yellow glazed endpapers, a.e.g. Grandville's finest book and magnum opus, an extraordinary imaginative tour de force in the original publisher's polychromatic binding. 'Un nouveau monde est né; que Grandville soit loué.' (Max Ernst). Grandville's most remarkable book, an expansive flight of inspirational fantasy, and a remarkable precursor. It is clear that the influence of this work extends onward in the nineteenth and well into the twentieth centuries and beyond. A remarkable work of sui generis imaginative verve, Grandville produced the illustration which was then 'illustrated' with a commissioned text. The tale of three demi-gods, 'Dr. Puff', 'Dr. Krackq', and 'Dr. Hahblle', their created worlds and travels. The work, a descendant of the works of Swift and Goya, inspired, in passing, Lewis Carroll ('La Battaille des Cartes'), Max Ernst, the Surrealists in general as well as later caricaturists such as Steadman and Scarfe. 'In this remarkable book, of the boldest possible originality, Grandville dared to reveal his dream to the public.' (Ray). The full title - which gives a good indication of the enormously broad scope of the work - reads as follows: 'Un Autre Monde: Transformations, visions, incarnations, ascensions, locomotions, explorations, pérégrinations, excursions, stations, cosmogonies, fantasmagories, rêveries, folâtreries, facéties, lubies, métamorphoses, zoomorphoses, lithomorphoses, métempsycoses, apothéoses et autre choses.' This copy, with the ownership signature to the front free endpaper of 'Comtesse de xxx' in purple ink, features an additional note in pencil 'Dessin original ajouté'; a pencil note to verso states: 'retiré d'un autre / monde de Grandville'. The 'dessin original' is tipped-i,n to the recto of the frontispiece, and depicts the caricature portraits of seven figures, among them seemingly Daumier, and Grandville. This appears to be an unused illustration for the 'Les Grands et les Petits' section of the book. [Ray 196; SR / BF 76 / 77; Carteret III, 285; Rebeyrat 287].